Bad Lieutenant: Port of Call New Orleans

Werner Herzog is one of the great filmmakers of all time. He has had an enigmatic career when you consider the varied catalogue of films he has made. He has done some of the craziest and most dangerous things in the name of art, and he along with a whole generation of German filmmakers changed the landscape of cinema forever. One thing he is a master of is unleashing the power of symbols and images. He tells rich and interesting stories with his lens. Lately he has done some remarkable documentaries, as well as some more mainstream Hollywood genre movies, with his own subtle touch of course. It is always fascinating to see what Herzog will tackle next, what catches his fancy, and the results are as puzzling as they are intriguing.

“The Bad Lieutenant: Port of Call New Orleans” (yes, you read that correctly) is Herzog’s latest film. I have never worked in Hollywood so all I know about how the movie business works is from stories I hear from people I know, but it must be even more absurd than everyone thinks. I can’t even imagine how this movie got made but I’m glad it did. It is one of the most unique and surprising films of the cop genre and its due in large part to Herzog. There is something to be said for the screenwriting which is structurally amazing, but the material could have been handled in such a way that the film could have ended up as just another straight to DVD B-movie. Instead it exudes a grit and propulsion that is astounding. Every scene has an air of purpose. It’s the story of a cop who embarks on a downward spiral like you’ve never seen. This movie is absolutely crazy. It follows a drug addicted cop as he tries to navigate his way through solving the homicides of five Senegalese immigrants in post-Katrina New Orleans. What you come away with in the end is that the character is either a lucky psychotic or the most ingenious cop ever. The performances are great. Nicolas Cage is in rare form as he portrays the steady decline of the character so believably. The supporting actors also do a good job. The directing is what ultimately enhances the film as a whole. There are some very specific and deliberate tracking shots that really put you into the world of the characters.

The story itself says a lot about American society; this is definitely Herzog’s most American film in every sense. The film itself begins to unbuckle as do the performances as a way of signifying the characters decline from reality. If you have ever sat around and wondered what it would be like if Werner Herzog made a cop movie then wonder no longer. While it is one of the strangest takes on the subject matter, it is also very indicative of Herzog himself. I honestly can’t believe this movie even exists, but it sure is fascinating to say the least. I just can’t wait for what Herzog does next.